About Soundgraft Music | Mixing, Editing, and Production by Michael Lombardo

I’ve been chasing sound since I was a kid growing up on Lawn-guy-lind, New York. Before I even knew what multitrack recording was, I was rigging up two boomboxes to overdub ideas — messy, noisy, and totally magical. I was around 10 or 11, just following instinct. Eventually, I got my hands on a real multitrack recorder, and that was the spark. From that point on, I was writing, recording, and producing with every band I was in.

By the time high school ended, I’d already landed a job at a recording studio — sweeping floors, grabbing coffee, and soaking up everything I could from real sessions, often on two hours of sleep before class. That grind led me to the Institute of Audio Research in NYC (yeah, that one no one’s heard of), which somehow opened the door to Soundtrack Studios, where I landed an internship assisting sessions and learning from some of the industry’s greats — sessions involving names like Andy Wallace and Butch Vig. I wasn’t directly working with them, but I was in the room, soaking it all in. That’s where I got hands-on with two-inch tape, SSLs, Neves, APIs — and watched the industry shift from analog to digital in real time.

Then came the next chapter — over a decade on the road with the rock band Miggs, recording albums produced by legends like Ken Lewis, Phil Ramone, and Charlie Midnight. I lived the dream, shared stages across the world with some truly great and well-known artists, and learned what it meant to craft something that connects.

Now I’m bringing all of that experience back into the studio with Soundgraft Music — blending influences, genres, and ideas into something new. Whether I’m mixing, editing, programming, producing, or co-writing, my goal is always the same: to serve the song and elevate the artist.

I'm based in Orlando, Florida, and work remotely with artists across the U.S. and beyond.

Because I’ve been on both sides — the dreamer in the band van and the guy behind the glass — and I want to help others chase their sound the way I chased mine.

Mixing is where I stare at waveforms until they sound better.

It’s the part where the song stops being a pile of tracks and starts sounding like something you want to play on repeat. For me, it’s about dialing in the emotion — making sure the heart of the song cuts through.

Sometimes that means getting into the weeds: tweaking a vocal, carving space, riding faders like I'm diffusing a bomb, or making a bold move that just shouldn’t work… but does.

I like keeping the artist in the loop the whole way. That way, the final mix isn’t just technically “done” — it feels right. Like you hear it and go, “Yeah… that’s it.”

Before I even start mixing, I’m cleaning things up under the hood — dialing in gain structure, tightening timing, muting stray headphone bleeds, the occasional mystery cough… you get the idea. It’s the boring stuff that makes everything else shine.

When it comes to vocal tuning, I aim for “damn, that sounds good” — not “wow, is that Auto-Tune?” I use the right tools to smooth things out while keeping the character and emotion intact. No robots here, just real performances getting the polish they deserve.

It’s the quiet work — which is funny, because it usually involves a lot of listening over and over — that makes everything hit harder without anyone noticing why.

MIDI programming is where I get nerdy — especially when it comes to drums.

There’s something satisfying about turning a lifeless grid into something that grooves and breathes. It’s not just dropping kicks and snares on time — it’s about dynamics, feel, pocket, and making it sound like an actual human played it (but, you know, the tightest human possible).

I pay close attention to velocity, articulation, and timing shifts to shape the vibe — whether it’s a laid-back shuffle, a punchy groove, or something more intricate and expressive. Layering different samples, choosing the right hits, and dialing in nuance is where the magic lives.

Because in the end, great drum programming shouldn’t sound “programmed.” It should feel like the rhythm section showed up, nailed it, and made the song move.

Need a player? I’ve got you.

Bass, guitar, keys — I’ve spent years in bands and studios adding whatever the song needs to come to life. Sometimes that’s a gritty bass line that drives the whole thing. Sometimes it’s a subtle keyboard layer or a guitar line that says more in five notes than a whole solo ever could.

I’m not here to show off. I’m here to serve the song. Every part I play is about adding color, feel, and energy that fits the vibe and supports your vision. Whether it’s a full arrangement or just a few key parts, I focus on playing with intention and feel — so the track sounds like it always had that element in it.

Let’s make something that feels good and plays well with others.

Production usually starts with a voice memo, a rough demo, or someone saying, “Okay, so it kinda goes like this…”

Wherever you’re starting from — a full arrangement or just a vibe — I’m here to help shape it into a finished track that actually feels like you.

Sometimes that means building the whole thing from scratch: drums, bass, keys, guitars, whatever it needs. Other times, it’s just tightening things up, swapping sounds, and making sure every part earns its spot. I’m all about finding the right tones, textures, and dynamics to bring the emotion forward without overcooking it.

Production isn’t about making something sound expensive — it’s about making it hit. If the song makes people feel something? That’s the win.